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Article " Der Proce in Yiddish, or The Importance of being Humorous" Iris Bruce TTR : traduction, terminologie, rédaction, vol. 7, n° 2, 1994, p. 35-62. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/037180ar DOI: 10.7202/037180ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 12 février 2017 03:38 Der Proceß in Yiddish, or The Importance of being Humorous Iris Bruce Dear Uncle Jack is so very serious! Sometimes he is so serious that I think he cannot be quite well. Oscar Wilde, The Importance of Being Earnest I. Introduction1 In the past, many interpretations of Franz Kafka's writings have stressed their psychological, religious, existential and moral dimensions and initiated a whole genre of the kqfkaesque which conjures up associations of the grotesque and absurd but is rarely associated with a sense of humour. Kafka's very "name has become a part of the language - a 'Kafkaesque,' or Kafka-like situation being one of a strange or nightmarish quality" (Crawford, p. 3). Generally, after World War II (and largely due to the prominence of New Criticism and Existentialism in the literary academies during this time), a Kafka myth has cristallized which emphasizes Kafka's existential anguish: interpretations, be they religious, phenomeno- logical, existentialist, symbolic or allegorical, center on the psychology of the author, who is presented as being overcome by the sense of absurdity and alienation so prevalent in twentieth 1. An early version of this paper was presented at the Translation Studies Congress, "Translation Studies: An Interdiscipline," Vienna, Austria (1992). 35 century culture:2 Where this metaphysical approach in literary interpretation as a discipline has been most detrimental is in its emphasis on the "universal" rather than on specific textual elements, in the obsession with Kafka's personal neuroses, in the mingling of psychological speculation and literary criticism which frequently led to a "false confusion of empirical and literary selves" (Corngold, 1977, p. 69), and most importantly in its overall disregard of the playful and humorous dimension in Kafka's texts. Translations of Kafka's works have done their share in spreading the "serious Kafka" myth. In the English speaking world, the translations of Edwin Muir3 are said to have "einem Jahrzehnt der Kafka-Interpretation in England die Richtung gewiesen" [paved the way for a decade of Kafka interpretation] (Jakob, p. 103). These translations are a product of the European cultural and intellectual milieu of the nineteen-thirties. Yet, their effect in English speaking countries has reached far into the post-war period. For instance, Orson Welles' 1963 film The Trial is greatly indebted to the anguished, expressionistic genre of the kqfkaesque. And that the fabricated "Kafka myth" is still very much alive is evident in a recent British play by Arnold Bennett, Kafka's Dick (1987): even though this play pokes fun at the psychologizing orientation of Kafka scholarship, it is still indebted to the picture of "Kafka the neurotic" who succumbs to his anguish in the face of the absurdity of life, a representation which cannot be supported by biographical evidence. In view of the many "serious" readings of Kafka, I would like to draw attention to a counter-translation, the 1966 translation 2. For example, see Crawford (1973), Demmer (1973), Emrich (1958), Friedman (1967), Golomb (1985), Goodman (1947), Heidsieck (1983), Robert (1979), Schoeps (1951), Tiefenbrun (1973). 3. Since the translator's wife, Willa Muir, worked on these trans­ lations together with her husband, I will in the following refer to "the Muirs." 36 of Der Proceß into Yiddish, by the Yiddish poet Melech Ravitch (a pseudonym for Zekharye Khone Bergner [1893-1976]).4 Ravitch draws on both the English translation (by Edwin and Willa Muir) and the German original, but he "corrects" the anguished, expressionistic Kafka myth by staying as close to the German source text as possible. More importantly even, Ravitch's Yiddish translation - along with the drawings which accompany the text (by Ravitch's son, the Israeli painter Yossl Bergner [1920- ]) - is significant, because it constitutes a challenge to the rather humourless genre of the kqfkaesque so widespread still in contemporary English and German speaking cultures5. II. Ravitch and the Muirs' Ideology The title page of the Yiddish translation makes mention of both the German title and the title of the English translation. Closer examination reveals that the English translation functioned as an intertext, i.e. in the sense of an interprétant. The German source text 4. I came across this translation in an article written in Yiddish by Zilbertsvayg (1968). Ravitch's translation is not listed in Binder (1979): see pp. 595-599, 624-785, nor is it mentioned in the Encyclopaedia Judaica, 13 (1971) under Melech Ravitch. I wish to thank Régine Robin for initially pointing out to me that the translator is identical with the Yiddish poet. Ravitch was born in Radymno, Galicia, came to Vienna in 1913 and served in the Austrian army during World War I. In 1921 he went to Warsaw and began publishing Yiddish expressionist magazines. He travelled around the world and settled in Montreal in 1941, where he lived until his death in 1976. For further information on Ravitch see: Madison (1968), pp. 320-321; Whitman (1979), pp. 103-107, 141; Howe (1987), pp. 301-317. For Yossl Bergner see: Encyclopaedia Judaica, 4(1971). 5. An exception to this is the recently published book by David Zane Mairowitz and Robert Crumb, Kqfkafor Beginners (Icon Books, 1993), which came to my attention too late to be considered in this context. 37 was consulted throughout and as a result numerous inaccuracies and imprecise formulations in the English translation are "corrected" and brought closer to the German original. These "corrections" counter the Muirs' anguished and metaphysical reading of Kafka's text. For one, the English translation of Der Proceß highlights the metaphysical anguish of the protagonist Josef K., whose explanation in the original German, Es kommt auf viele Feinheiten an, in denen sich das Gericht verliert. Zum Schluß aber zieht es von irgendwoher wo ursprünglich gar nichts gewesen ist, eine große Schuld hervor (p. 200) [It depends on many subtleties in which the court loses itself. In the end, though, it draws out a serious perpetration from somewhere where there was nothing before]6 is too laconic for the Muirs who change the meaning of this sentence to I have to fight against countless subtleties in which the Court indulges. And in the end, out of nothing at all, an enormous fabric of guilt will be conjured up (p. 149) The translators have shifted the emphasis away from the Court to Josef K., who is now represented as a fighter against the "countless subtleties in which the Court indulges" (p. 149; my emphasis), subjecting himself to the whims of the court (suggested by the word "indulges") and thus combatting forces beyond his control. Moreover, the moral, philosophical and existential dimension inherent in the German "eine große Schuld" [a serious perpetration] is expanded into "an enormous fabric of guilt" (p. 149). In contrast, the Yiddish translator decides on the less dramatic "a groyse 6. Unless indicated otherwise, all translations from the German, as well as the Yiddish, are my own. Translations from the Yiddish appear in transliteration according to the YIVO style of transcription. 38 shuldikeytM[a serious perpetration] (pp. 150-51) and thereby re­ establishes the laconic nature of the German original. Second, not only does the English translation overemphasize K.'s existential anguish, but it frequently uses vocabulary that has religious overtones and thus reveals a further ideological orientation. For instance, the formulation "it sounded like a prayer, not like a summons" (p. 23) is not in the source text, where the equivalent word for "prayer" is "eine Bitte" [a request, an entreaty]: "es klang wie eine Bitte, nicht wie ein Anruf (p. 39). In addition, Kafka clearly counters the religious connotations that can be read into the word "Anruf [call, challenge], such as "invocation," by insisting that this call sounded like a "Bitte," which has no religious connotations. The Muirs ignore Kafka's denial of the religious associations and reclaim a religious dimension for this sentence, thus fundamentally changing its meaning for an English reader. The Yiddish translation, on the other hand, again translates literally and reestablishes the non-religious context, "es hot geklungen vi a betn zikh un nisht vi a ruf (p. 36) [it sounded like an entreaty and not like a call]. Another example is the description of a statue by Titorelli which may have implicit religious overtones in the original since the light surrounding the statue's head is described as "strahlenförmig", "wie ein Schmuck" (p. 197). The English translation makes explicit the possible religious connotations in "strahlenförmig" (which suggests beams of light emanating from a star) by employing the word "halo": "[...] a shadow which tapered off in long rays-like a halo" (p. 147). However, once again Kafka's formulation plays with the religious association only to dismiss it.
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